i could've watched the opening bus scene, in which souad tells various strangers tall stories about her fiance, for hours. and there's a subtle bathroom moment that speaks volumes about repressed female sexuality. souad's second half isn't quite as strong as its first, but it is still a real find when it comes to thoughtful art—house fare. it's in cinemas now, including london's bfi southbank, as part their season on contemporary arab cinema. ten, ten, through the course of this, there's been a terrorist incident. a what? they were speaking their own language, they weren't - speaking in english. you don't think they could've been speaking welsh? this gentleman was sent by a crime family who are intent on taking over your turf.